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20120925
20121003
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, john simmons. not john simmons- becomes a different john simmons when i'm relating to my kids, to my students, to my provost, to authority figures. you know, watch that- watch how you're going along, thinking, oh, boy, that religious studies class was so mellow and i'm feeling so good. and then somebody pulls out in front of you, "arrrrgggghhhh!" you know, you're sense of self has changed, from peace into an angry self, in relationship to that fool who pulled out in front of you, you know. that's what i'm talking about- it is not a cosmic, bizarre kind of insight the buddha is offering up; he's saying we suffer because we don't recognize that we are always, always- you know, our sense of self is in that relational mode. yeah, janet. >> i actually have to debate a little bit with you, because i found the no self thing to be the hardest part. my teacher started out with all things are by their very nature impermanent- even the mountains are worn down by the water, and crumble to the sea. so anything you might want to grasp onto isn't permanent. if you wish for things to be permanent- s
, what would make me feel good? well, john travolta coming in and dancing around my house would be a nice thing. (singing) (amy heckerling) i'm sure that my fantasies aren't that different. (baby's thoughts) now, that's entertainment. one of the things i've always been interested in is creating female characters that i could relate to, and that female friends of mine could relate to. that funny young lost look... i loved. (susan seidelman) i think taking a genre and twisting it, and by twisting it being able to say something about modern romance is very appealing. i know. gary... do you remember your dreams? i never thought about it. they really went for the commercial tonight, don't you think? everyone thought you were great. i think romantic comedies today are more realistic; they have to have characters that a modern audience believes and deal with certain issues that are in contemporary life. when i started out writing "when harry met sally," i thought only that it would be nice to write this little movie that rob had proposed. (nora ephron) two people are friends. they realize that s
importance than a masterpiece by raphael." john adams said, "the age of painting and sculpture has not arrived in this country, and i hope it will not arrive soon. i would not give a sixpence for a picture of raphael." nevertheless, admiration for the artist became so great th copies of his works grew in number, especially of the madonna of the chair. merchants and landowners placed these copies in rooms filled with family portraits and memorabilia. unlike jefferson's monticello, the copy after raphael might now be the only art relating to an old master in the room. the attitude toward raphael changed during the 19th century. through prints and the new medium of photography, copies of his sistine madonna and other works proliferated. once mass-produced, they were no longer a mark of taste and distinction but symbolized their owner's moral as well as artistic values. eventually, raphael's images became so commonplace they were fair game for parody. in the late 19th century, a new, more sophisticated type of collector arose in america: the millionaire who, having amassed a fortune, w
Search Results 0 to 2 of about 3